| +---+-.-+---+-.-+---+-.-+---+-.-+ ] In order to ascertain if you have the move when it is your turn to play, add together all the men, both black and white, in one of the systems, taking no notice of those in the other system, and if the number is _=odd=_, you have the move. In Diagram No. 10, for instance, if you have the black men, and it is your turn to play, you will find three men on your own system, and therefore you have the move, and must win by playing 10-15. When White moves, there will again be an odd number of men on your system, and you will still have the move, and he must sacrifice both his men. [Illustration: No. 10.
_=27.=_ _=LEADING AND PLAYING OUT OF TURN.=_ If a player leads when it was his partner’s turn, a suit may be called from his partner. The demand must be made by the last player to the trick in which the suit is called. If it was the turn of neither to lead, the card played in error is exposed. If all have played to the false lead, the error cannot be rectified. If all have not followed, the cards erroneously played must be taken back, but are not liable to be called. _=28.=_ If an adversary of a lone player leads out of turn, the lone player may abandon the hand, and score the points. _=29.
(_d_) The words of all the versions are sufficiently similar to analyse without a special form. The game appears to be purely a love and marriage game, and has probably had its origin in a ballad, and this idea is strengthened by the fact that only one version (London) has the marriage formula sung at the end, and this is probably an arbitrary addition. The lover is represented as lonely and disconsolate, and the remedy suggested is to choose a sweetheart. The marriage ceremony is of the simplest description--the clasping of hands and the kissing within the circle probably implying the betrothal at a spot sacred to such functions, similar to the Standing Stones of Stenness. Whatever may have been the original intention of these stones, they came in more recent times to be the resort of lovers, who joined their right hands through the hole in the altar stones in the belief that this ceremony would add additional solemnity to the betrothal. Miss Gordon Cumming, in her _Tour in the Hebrides_, mentions the fact of the marriage ceremony being of the simplest--a man and woman standing facing each other and clasping hands over a particular stone. Walking arm-in-arm is a sign in Dorsetshire that a couple are married. The mention of the roast beef and plum pudding for dinner has probably had its origin in the wedding dinner or breakfast, and the inviting of friends to assemble for the wedding dinner. The word Isabella may have been originally something quite different from the name of a girl. I am inclined to think the word was not the name of a person at all; possibly it was something addressed to a particular person in words the sense of which are now lost, and the nearest idea to it was this name.
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The lines-- Over the water at the hour of ten, I ll meet you with five thousand men; Over the water at the hour of five, I ll meet you there if I m alive, are portions of a dialogue familiar to Mr. Emslie, and also occur in some mumming plays. It may also be noted that the curing of illness or death from a stab is an incident in these plays, as is also the method of playing. The first lines are similar to those of Lady on the Mountain, which see. Lag A number of boys put marbles in a ring, and then they all bowl at the ring. The one who gets nearest has the first shot at the marbles. He has the option of either knuckling doon and shooting at the ring from the prescribed mark, or ligging up (lying up)--that is, putting his taw so near the ring that if the others miss his taw, or miss the marbles in the ring, he has the game all to himself next time. If, however, he is hit by the others, he is said to be killed. --Addy s _Sheffield Glossary_. Lammas A party of boys take a few straws, and endeavour to hold one between the chin and the turned-down under-lip, pronouncing the following rhyme-- I bought a beard at Lammas fair, It s a awa but ae hair; Wag, beardie, wag! He who repeats this oftenest without dropping the straw is held to have won the game (Chambers _Popular Rhymes_, p.
Gomme). It seems probable that a survival of fire-worship is shown by this game. Fivestones This game was played by a newspaper boy at Richmond Station for me as follows:--He had five square pieces of tile or stone about the size of dice. He took all five pieces in the palm of the hand first, then threw them up and caught them on the back of the hand, and then from the back of the hand into the palm. Four of the stones were then thrown on the ground; the fifth was thrown up, one stone being picked up from the ground, and the descending fifth stone caught in the same hand; the other three pieces were next picked up in turn. Then two were picked up together in the same manner twice, then one, then three, then all four at once, the fifth stone being thrown up and caught with each movement. All five were then thrown up and caught on the back of the hand, and then thrown from the back and caught in the palm. When he dropped one, he picked it up between his outstretched fingers while the other stones remained on the back of the hand; then he tossed and caught it likewise. Then after throwing up the five stones and catching them on the back of the hand and the reverse, all five being kept in the palm, one was thrown up, and another deposited on the ground before the descending stone was caught. This was done to the three others in turn.
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The proprietors of some fashionable “clubs,” especially at watering places, pretend to be above all such things as cheating at faro, and get indignant at the suggestion of the possibility of there being anything crooked in their establishments. The author has but one reply to all such. If it is true that there is nothing unfair in your game, let me put a type-writer girl in the dealer’s place to shuffle and pull out the cards, and let your men just see to paying and taking bets. The boast of all these fashionable gambling houses is that they never won a man’s money except in a square game. Strange to say, this is generally true, and the explanation is very simple. If you are losing there is no necessity to cheat you, so you lose your money in a square game. If you are winning, it is the bank’s money, and not yours, that they would win if they started to cheat you; and as the dealer is paid to “protect the money of the house,” as they call it, he is perfectly justified in throwing the harpoon into you for a few deals, just to get his own money back; but he is very careful not to cheat you out of any of your own money. You may lose if you like, but you cannot win; faro banks are not run that way. ROUGE ET NOIR, OR TRENTE-ET-QUARANTE. The banker and his assistant, called the croupier, sit opposite each other at the sides of a long table, on each end of which are two large diamonds, one red and the other black, separated by a square space and a triangle.
| -- | | 8.| -- | | 9.|Girl makes a pudding. | |10.|Asks boy to taste. | |11.|Fixing of wedding day.| |12.| -- | |13.| -- | |14.
When Captain Wow got excited in the middle of a battle, confused images of Dragons, deadly Rats, luscious beds, the smell of fish, and the shock of space all scrambled together in his mind as he and Captain Wow, their consciousnesses linked together through the pin-set, became a fantastic composite of human being and Persian cat. That s the trouble with working with cats, thought Underhill. It s a pity that nothing else anywhere will serve as Partner. Cats were all right once you got in touch with them telepathically. They were smart enough to meet the needs of the fight, but their motives and desires were certainly different from those of humans. They were companionable enough as long as you thought tangible images at them, but their minds just closed up and went to sleep when you recited Shakespeare or Colegrove, or if you tried to tell them what space was. It was sort of funny realizing that the Partners who were so grim and mature out here in space were the same cute little animals that people had used as pets for thousands of years back on Earth. He had embarrassed himself more than once while on the ground saluting perfectly ordinary non-telepathic cats because he had forgotten for the moment that they were not Partners. He picked up the cup and shook out his stone dice. He was lucky--he drew the Lady May.
I ll take my boots off. Your stockings are too dirty. I ll take them off. Your feet are dirty. I ll cut them off. The blood will run over the threshold. I ll wrap them up in a blanket. The blood will run through. This enrages the Mother, and she pushes her way into the supposed house, and looks about, and calls her children. She goes to one and says-- This tastes like my Monday.
_=MATADORE GAME.=_ This is another variety of the Block Game. Each player takes seven bones, and the highest double or the heaviest domino sets. The object is not to follow suit to the ends, but to play a number which will make the end and the number played to it equal _=seven=_. If the end is a 3, a 4 must be played; a 2 must be played to a 5, and an ace to a 6. Four dominoes in the set are trumps, or Matadores. These are the double blank, and the three dominoes that have seven on their faces; 6-1, 5-2, and 4-3. Any of these trumps may be played at any time on either of the ends, in order to prevent a block; but the following player, if he does not play a trump also, must play the complement of seven to whichever end of the matadore is left exposed. Doublets are not placed crosswise, and count only for the suit to which they belong; a double three cannot be played to an ace, because it counts as three only. The trumps are usually placed at right angles to the line.
, and they indicate the complete covering of the head, and also the fact that the game was played by adults. Gay says concerning it-- As once I play d at _blindman s-buff_, it hap t, _About my eyes the towel thick was wrapt._ _I miss d the swains, and seiz d on Blouzelind._ And another reference is quoted by Brand (ii. 398)-- Sometyme the one would goe, sometyme the other, Sometymes all thre at once, and sometyme neither; Thus they with him play at boyes blynde-man-bluffe. --_The Newe Metamorphosis_, 1600, MS. Other names for this game are Belly Mantie, Billy Blind, Blind Bucky Davy, Blind Harie, Blind Hob, Blind Nerry Mopsey, Blind Palmie, Blind Sim, Buck Hid, Chacke Blynd Man, Hoodle-cum-blind, Hoodman Blind, Hooper s Hide, Jockie Blind Man. (_d_) There is some reason for believing that this game can be traced up to very ancient rites connected with prehistoric worship. The name Billy Blind denoted the person who was blindfolded in the game, as may be seen by an old poem by Lyndsay, quoted by Jamieson: War I ane King I sould richt sone mak reformatioun Farlyeand thairof your grace sould richt sone finde That Preistis sall leid yow lyke are bellye blinde. And also in Clerk s _Advice to Luvaris_: Sum festnit is and ma not flé, Sum led is lyk the belly blynd With luve, war bettir lat it be.
The players played alternately.--Keith (Rev. W. Gregor). Another version seems to be Headim and Corsim. Pins are hid with fingers in the palms of the hands; the same number is laid alongside them, and either Headim or Corsim called out by those who do so. When the fingers are lifted, if the heads of the pins hid and those beside them be lying one way when the crier cried Headim, then that player wins; but if Corsim, the one who hid the pins wins. This is the king of all the games at the preens.--Mactaggart s _Gallovidian Encyclopædia_. The editors of Jamieson s _Dictionary_ say that the name should be Headum and Corsum.
These three games win the rubber, for which they add 8 points, and 4 points for the little slam. This is all put down on the score-sheet:-- A-B | 0 | 2 | 4 | 4 | 0 | 0 | 0 | = 10 Score: | | | | | | | | Y-Z | 2 | 0 | 0 | 0 | 3 | 4 | 4 | 8 4 = 25 Both scores being added up, the value of the rubber won by Y-Z is found to be 15, after deducting the 10 points made by A-B. _=CUTTING IN.=_ If there are more than four persons belonging to the table, those waiting cut in, as at Whist. _=METHODS OF CHEATING.=_ In all games in which the cards are dealt in bulk, four or six at a time, there is more or less temptation for the greek to gather desirable cards in the pack, leaving them undisturbed in the shuffle. If he can pick up two tricks of the previous deal with eight good cards of the same suit in them, by placing any two tricks of other cards between them, and dealing six at a time, he can tell exactly how many of the eight located cards are in his partner’s hand. For this reason a player who does not thoroughly shuffle the cards should be carefully watched; and an immediate protest should be made against any disarrangement of the tricks as they are taken in during the play, such as placing the last trick taken under the first. If the player doing this is to be the next dealer, any one observing the movement should insist upon his right to shuffle the cards thoroughly; if not to leave the game. We are strongly opposed to dealing the cards in bulk at Cayenne, and see no reason why the methods that prevail in the very similar game of Bridge should not be adopted.
XII. Mother, buy the milk-pail, mother, dear mother of mine. Where s the money to come from, children, dear children of mine? Sell father s feather bed, mother, dear mother of mine. Where s your father to sleep in? Father can sleep in the servant s bed. Where s the servant to sleep in? Servant can sleep in the pig-sty. Where s the pig to sleep in? The pig can sleep in the wash-tub. Where shall we wash our clothes? Wash our clothes at the sea-side. If our clothes should swim away? Then take a boat and go after them. O what should we do if the boat should sink? O then we should all of us be at an end. --Swaffham, Norfolk (Miss Matthews).
519, 520). Another version is that the child in the centre, whilst the others danced around him in a circle, saying, Pig in the middle and can t get out, replies, I ve lost my key but I will get out, and throws the whole weight of his body suddenly on the clasped hands of a couple, to try and unlock them. When he had succeeded he changed the words to, I ve broken your locks, and I have got out. One of the pair whose hands he had opened took his place, and he joined the ring.--Cornwall (_Folk-lore Journal_, v. 50). (_b_) Mr. S. O. Addy says the following lines are said or sung in a game called T Bull s i t Barn, but he does not know how it is played:-- As I was going o er misty moor I spied three cats at a mill-door; One was white and one was black, And one was like my granny s cat.
Some boy chosen by lot, or one who volunteered in order to start the game, laid his top on the ground at some distance from the Gully. The first player then spun his top, pegging at the recumbent top, so as to draw it towards the Gully. If he missed the top, he stooped down and took up his own top by pushing his hand against it in such a manner that the space between his first and second finger caught against the peg and forced the top into the palm of his hand. He then had a go at the recumbent top (I forget what this was called), and sent his own top against it so as to push it towards the Gully. If he missed, he tried again and again, until his own top could spin no longer. If he did not hit the top with his own while it was spinning, his top had to be laid down and the other one taken up, and its owner took his turn at pegging. When a spinning-top showed signs of exhaustion, and the taking it up might kill it, and it was not very far from the down-lying top, its owner would gently push it with his finger, so as to make it touch the other top, and so avoid putting it into the other s place. This was called kissing, and was not allowed by some players. When one player succeeded in sending the top into the Gully, he took it up and fixed it by its peg into a post, mortar of a wall, or the best place where it could be tolerably steady. Holding it by one hand, he drove the peg of his own top as far as he could into the crown of the victim top.
An even number of deals, usually four, is the rule for each round before moving. _=DUPLICATE BRIDGE.=_ This is bridge with the hands kept separate and put into trays to be carried from table to table. The methods will be found fully described under the titles for duplicate whist. In order to prevent the players from giving too much attention to the honours in declaring, it is sometimes the rule to add a certain number of points to the trick scores, as a bonus. This is called _=Bridge to the Score=_. Four deals is a round, before changing adversaries, and fifty points are added to the score of the side having the greater trick score. Another method is to add fifty points to the side winning a game, if a game is won before moving, and then to add a definite number of points for every trick point that one side may be ahead of the other on unfinished games; or as many points as the higher score below the line. None of these methods have proved attractive enough to be popular, however, although the first is the one commonly adopted for club tournaments, adding fifty points bonus for the higher trick score, regardless of any games or rubbers. All the additions of percentages require special score cards and the services of some alleged expert to run the game, and even then they are not attractive.
Milking Pails [Music] --Monton, Lancashire (Miss Dendy); London (A. B. Gomme). [Music] --Earls Heaton, Yorks. (H. Hardy). I. Mary s gone a-milking, Mother, mother, Mary s gone a-milking, Gentle sweet mother o mine. Take your pails and go after her, Daughter, daughter, Take your pails and go after her, Gentle sweet daughter o mine. Buy me a pair of new milking pails, Mother, mother, Buy me a pair of new milking pails, Gentle sweet mother o mine.
His adversary tries to keep his trumps in order to stop that suit; at the same time forcing the strong hand, by leading cards which he must trump, hoping that such a force may so weaken him that he will be unable to continue the trump lead. It is usually very difficult to convince the beginner that the weaker he is himself, the more reason he has for forcing the adversaries to trump his good cards. He is constantly falling into the error of changing from a good suit, which the adversaries cannot stop without trumping, to a weak suit, which allows them to get into the lead without any waste of trump strength. If an adversary refuses to trump a suit, it is imperative to keep on with it until he does; for it is always good play to force an adversary to do what he does not wish to do. Any person may convince himself of the soundness of this theory of forcing, by giving himself the six highest cards in any suit, three small cards in the others, and four trumps; giving another player the four best trumps, and nine of the highest cards in two suits. If the first player forces the second with his good suit, and continues every time he gets the lead, he must win six tricks; if he does not, the second player makes a slam. A deliberate force from a partner should always be accepted, if he is a good player. We may now turn our attention to the conventionalities used by players who are opposed to the establishment of suits in the hands of the leader and his partner. These are divided between the Second and the Fourth Hand, the former being the more important. Generally speaking, they are the tactics of defence.
When he had succeeded he changed the words to, I ve broken your locks, and I have got out. One of the pair whose hands he had opened took his place, and he joined the ring.--Cornwall (_Folk-lore Journal_, v. 50). (_b_) Mr. S. O. Addy says the following lines are said or sung in a game called T Bull s i t Barn, but he does not know how it is played:-- As I was going o er misty moor I spied three cats at a mill-door; One was white and one was black, And one was like my granny s cat. I hopped o er t style and broke my heel, I flew to Ireland very weel, Spied an old woman sat by t fire, Sowing silk, jinking keys; Cat s i t cream-pot up to t knees, Hen s i t hurdle crowing for day, Cock s i t barn threshing corn, I ne er saw the like sin I was born. Bulliheisle A play amongst boys, in which, all having joined hands in a line, a boy at one of the ends stands still, and the rest all wind round him.